The idea of the composite instrument can be traced back to the works I wrote for pre­recorded and live soloist beginning around 1988. In my works Afatsim for mixed ensemble, Die Kreuzung for U (Alto-Shô or Accordion), Alto-Saxophone and Double-bass, and the StringQuartet, disparate instruments become a single composite instrument. Contrarily, in Ina and other pieces of this time, a singular instrument is unbraided into disparate voices. At the time, this suggested an exploration into the drama of the singular persona (and thus the singular per­former) confronted with the many divergent voices within. Ina unequivocally retains a cer­tain narrative and dramatic conception in its play between the soloist and his or her internal environment. The piece is dedicated to John Sebastian Winston. – Chaya Czernowin)

The idea of the composite instrument can be traced back to the works I wrote for pre­recorded and live soloist beginning around 1988. In my works Afatsim for mixed ensemble, Die Kreuzung for U (Alto-Shô or Accordion), Alto-Saxophone and Double-bass, and the StringQuartet, disparate instruments become a single composite instrument. Contrarily, in Ina and other pieces of this time, a singular instrument is unbraided into disparate voices. At the time, this suggested an exploration into the drama of the singular persona (and thus the singular per­former) confronted with the many divergent voices within. Ina unequivocally retains a cer­tain narrative and dramatic conception in its play between the soloist and his or her internal environment. The piece is dedicated to John Sebastian Winston. – Chaya Czernowin)